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INTERNATIONAL DAWN CHORUS DAY CELEBRATION in MISSISSAUGA
May 3, 2009, 4:30 am to 7:00 am
Lakefront Promenade Park
May 3, 2009, 4:30 am to 7:00 am
Lakefront Promenade Park
Located at 800 Lakefront Promenade off of Lakeshore Road East, east of Cawthra Road.
Meet at Lakefront Promenade Park, where we will proceed to the western headland to hear nature's symphony - sounds initiated by birds at sunrise. Special guests include Birder Mark Cranford (South Peel Naturalist Club) and SOUNDwalkers Darren Copeland and Nadene Thériault-Copeland. Tantalizing surprises will stimulate the senses and make this early rise an unforgettable adventure for all ages.
Info: 905-615-3200 x4067 or 416-652-5115
http://www.mississauga.ca
Meet at Lakefront Promenade Park, where we will proceed to the western headland to hear nature's symphony - sounds initiated by birds at sunrise. Special guests include Birder Mark Cranford (South Peel Naturalist Club) and SOUNDwalkers Darren Copeland and Nadene Thériault-Copeland. Tantalizing surprises will stimulate the senses and make this early rise an unforgettable adventure for all ages.
Info: 905-615-3200 x4067 or 416-652-5115
http://www.mississauga.ca
TRANSLOCAL performances of QUASIMODO the GREAT LOVER
By Alvin Lucier and directed by Matt Rogalsky and Laura Cameron
May 7, 2009, 8:00 pm
The NAISA Space, Artscape Wychwood Barns 601 Christie Street #252, Toronto
General $10, Students $5
By Alvin Lucier and directed by Matt Rogalsky and Laura Cameron
May 7, 2009, 8:00 pm
The NAISA Space, Artscape Wychwood Barns 601 Christie Street #252, Toronto
General $10, Students $5
A realization of Alvin Lucier's Quasimodo the Great Lover directed by Matt Rogalsky and Laura Cameron. Whale and bird sounds are transformed by their passage through acoustic space and connected via the internet across Lake Ontario and then down to the bottom of the Americas in Beunos Aires. Canadian performers include dreamSTATE at the NAISA space in Toronto, Gayle Young/Reinhardt Reitzenstein in Grimsby, Laura Kavanagh/Ian Birse in Buenos Aires and Matt Rogalsky/Laura Cameron in Kingston.
FEEDBACK FRED & AUDIO BALLERINA
By with performances by Benoît Maubrey & Marie-Josée Chartier
May 8, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts, Artscape Wychwood Barns 601 Christie Street #170, Toronto
General $15, Students $10
By with performances by Benoît Maubrey & Marie-Josée Chartier
May 8, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts, Artscape Wychwood Barns 601 Christie Street #170, Toronto
General $15, Students $10
Program:
I. FEEDBACK FRED by
A Phonic Body (performed by Benoît Maubrey)
FEEDBACK FRED, equipped with an oversized loudspeaker box on his back and a microphone-mask, "feeds back" his own voice through the interaction of his wearable PA system and physical gyrations throughout the performance space. This personality can be likened to a cross-cloning of Hamlet and an electronic-laden Hunchback of Notre Dame. Known as a performer (recently at the Digital Arts Week in Zurich and VERSCH Festival in Amsterdam) he is actually a social fellow trying to interact with casual acquaintances and everyday encounters, like most of us he only wants friendship and love -- were it not for his inborn handicap. Watch a video of FEEDBACK FRED.
A Phonic Body (performed by Benoît Maubrey)
FEEDBACK FRED, equipped with an oversized loudspeaker box on his back and a microphone-mask, "feeds back" his own voice through the interaction of his wearable PA system and physical gyrations throughout the performance space. This personality can be likened to a cross-cloning of Hamlet and an electronic-laden Hunchback of Notre Dame. Known as a performer (recently at the Digital Arts Week in Zurich and VERSCH Festival in Amsterdam) he is actually a social fellow trying to interact with casual acquaintances and everyday encounters, like most of us he only wants friendship and love -- were it not for his inborn handicap. Watch a video of FEEDBACK FRED.
II. AUDIO BALLERINA by
A Phonic Body (Dancer Marie-Josée Chartier)
The AUDIO BALLERINA uses -- among other electronic instruments-- light sensors that enable her to produce sounds through the interaction of her movements and the surrounding light (PEEPER choreography). Via movement sensors she can also trigger electronic sounds that are subsequently choreographed --or "orchestrated"-- into musical compositions as an "audio ballet " (YAMAHA choreography). Watch past videos of the AUDIO BALLERINAS here and here.
A Phonic Body (Dancer Marie-Josée Chartier)
The AUDIO BALLERINA uses -- among other electronic instruments-- light sensors that enable her to produce sounds through the interaction of her movements and the surrounding light (PEEPER choreography). Via movement sensors she can also trigger electronic sounds that are subsequently choreographed --or "orchestrated"-- into musical compositions as an "audio ballet " (YAMAHA choreography). Watch past videos of the AUDIO BALLERINAS here and here.
III. History of DIE AUDIO GRUPPE by
History of DIE AUDIO GRUPPE
Benoît Maubrey is the director of DIE AUDIO GRUPPE a Berlin-based art group that build and perform with electronic clothes (AUDIO BALLERINAS, AUDIO GEISHAS, AUDIO STEELWORKERS, BONG BOYS, VIDEO PEACOCKS...). Basically these are electro-acoustic clothes and dresses (equipped with amplifiers and loudspeakers) that create sounds by interacting with their environment. (watch a video of the VIDEO PEACOKS here)
Over the years some of the Audio Gruppe's members have developed solos with a particular instrument: certain costumes have muted into highly individualistic and self-contained sound units. These are individual "phonic" bodies that produce their own personal sounds and movements in intimate and close-to-the-spectator performances.
More audio-figures began to emerge from the collaborative street performances, the Tokyo performances added the Audio Geishas' sampler-and-stroboscope lighting duos to the palette (see catalog AUDIO GEISHAS and ASIAN THEMES).
History of DIE AUDIO GRUPPE
Benoît Maubrey is the director of DIE AUDIO GRUPPE a Berlin-based art group that build and perform with electronic clothes (AUDIO BALLERINAS, AUDIO GEISHAS, AUDIO STEELWORKERS, BONG BOYS, VIDEO PEACOCKS...). Basically these are electro-acoustic clothes and dresses (equipped with amplifiers and loudspeakers) that create sounds by interacting with their environment. (watch a video of the VIDEO PEACOKS here)
Over the years some of the Audio Gruppe's members have developed solos with a particular instrument: certain costumes have muted into highly individualistic and self-contained sound units. These are individual "phonic" bodies that produce their own personal sounds and movements in intimate and close-to-the-spectator performances.
More audio-figures began to emerge from the collaborative street performances, the Tokyo performances added the Audio Geishas' sampler-and-stroboscope lighting duos to the palette (see catalog AUDIO GEISHAS and ASIAN THEMES).
I dont want to be an inside me anymore
By Solo theatre work performed by Sebastian Schäfer Co-produced with Threshold Theatre
May 26, 2009, 2:00 pm
The Loop Studio Centre for Lively Arts, Artscape Wychwood Barns 601 Christie Street #170, Toronto
By Solo theatre work performed by Sebastian Schäfer Co-produced with Threshold Theatre
May 26, 2009, 2:00 pm
The Loop Studio Centre for Lively Arts, Artscape Wychwood Barns 601 Christie Street #170, Toronto
Threshold Theatre joins forces with NAISA to present i dont want to be an inside me anymore, an adaptation of the radio documentary by Darren Copeland based on the autobiography by Birger Sellin and performed by German actor Sebastian Schäfer. Birger Sellin is determined to throw off the loneliness that "like a great clod of earth" threatens to "weigh down his soul." But, despite the eloquence and power of his writing, he remains severely autistic; his world is unbelievably remote from ours. Yet the uncompromisingly honest messages he sends to "humanity-without-me" will touch all those who read them and serve as he hopes, as inspiration for others who must struggle to express ideas and emotions locked deep inside themselves.
RADiO iN AMBiENCE
By co-presented with AMBiENT PiNG
May 27, 2009, 8:00 pm
The NAISA Space, Artscape Wychwood Barns, 601 Christie Street #252, Toronto
By co-presented with AMBiENT PiNG
May 27, 2009, 8:00 pm
The NAISA Space, Artscape Wychwood Barns, 601 Christie Street #252, Toronto
The AMBiENT PiNG presents RADiO iN ABiENCE once again as part of the Deep Wireless festival. Listen to Vancouver sound/radio artist Kristen Roos as he coaxes the radio ether into an outer-worldly electro ambient chill (more performers TBA).
Deep Wireless Ensemble performance #1
+ Performance by Kristen Roos + Tesla Agencements ver.0905 (performance by Tetsuo Kogawa)
May 29, 2009, 8:00 pm
The LOOP Centre for Lively Arts and Learning, Artscape Wychwood Barns 601 Christie Street #176, Toronto
General $15, Students $10
+ Performance by Kristen Roos + Tesla Agencements ver.0905 (performance by Tetsuo Kogawa)
May 29, 2009, 8:00 pm
The LOOP Centre for Lively Arts and Learning, Artscape Wychwood Barns 601 Christie Street #176, Toronto
General $15, Students $10
Surprises and delights are in store for audiences both familiar and unfamiliar with radio art will be delighted with this year's Deep Wireless Ensemble's performances. Internationally renown performance artist Brandon LaBelle, multi-disciplinary artist Lisa Pijuan-Nomura, and sound artists François Girouard and Jessica Thompson collaborate together to create multi-media performance experiences using their various areas of expertise in performance and new media art responding to the theme Ecology: Water, Air, Sound. These performances will be presented alongside works commissioned by CBC Radio's Outfront by Hélène Prévost, Iain Reid, Paolo Pietropaolo and Andra McCartney. With a late night performance by Kristen Roos (free with 8pm admission).
Program:
I. With late night solo performance by Kristen Roos
Kristen Roos will present a performance that mixes his collection of field recordings on lacquer records and audio tape. The performance will be amplified through the main system at the venue, and broadcast to radios surrounding the audience. This is meant for the ears, and is experienced best if the audience closes their eyes and sits back for the ride.
Kristen Roos will present a performance that mixes his collection of field recordings on lacquer records and audio tape. The performance will be amplified through the main system at the venue, and broadcast to radios surrounding the audience. This is meant for the ears, and is experienced best if the audience closes their eyes and sits back for the ride.
II. Followed by by Tesla Agencements ver.0905 (performance by Tetsuo Kogawa)
Different from music and sound art, Tetsuo Kogawa has been pursuing radioart where the sounds and images are merely the indexes or remains of airwave oscillation. Mapping and arranging polymorphous conditions of airwaves, includes his body in the electromagnetic field.
Different from music and sound art, Tetsuo Kogawa has been pursuing radioart where the sounds and images are merely the indexes or remains of airwave oscillation. Mapping and arranging polymorphous conditions of airwaves, includes his body in the electromagnetic field.
Deep Wireless Ensemble performance #2
By + Performance by Alessandro Bosetti
May 30, 2009, 8:00 pm
The LOOP Centre for Lively Arts and Learning, Artscape Wychwood Barns 601 Christie Street #176, Toronto
General $15, Students $10
By + Performance by Alessandro Bosetti
May 30, 2009, 8:00 pm
The LOOP Centre for Lively Arts and Learning, Artscape Wychwood Barns 601 Christie Street #176, Toronto
General $15, Students $10
A second set of performances by Internationally renown performance artist Brandon LaBelle, multi-discipline artist Lisa Pijuan-Nomura, and sound artists François Girouard and Jessica Thompson who will collaborate together to create multi-media performance experiences using their various areas of expertise in performance and new media art responding to the theme Ecology: Water, Air, Sound and will be presented alongside works commissioned by CBC Radio's Outfront by Hélène Prévost, Iain Reid, Paolo Pietropaolo and Andra McCartney
Program:
I. With late night performance of Mask/Mirror by Alessandro Bosetti
A few months ago I wrote a note to myself:
"Try to create a mask that that doesn't have anything to do with anything."
I kept wondering what that could mean until I started to imagine Mask/Mirror.
Mask/Mirror is a sampler that processes recordings of spoken language in real time. It uses samples of my own voice creating the ambiguous situation of being interrupted by myself all the time and of having to resort to all possible resources to keep making sense. The sampler follows both sound and meaning criteria in sorting, organizing and processing samples and formulating utterances. It randomly manages sample banks of words making possible to determine the syntactic form of a phrase ( for example noun - verb - noun ) but not the actual words the phrase it's made of. Mask/Mirror is a software tool based on Max/Msp that interacts with my own voice during performances. It also explores the sounding character of the voice/speech material through sound processing and pitch tracking. M/M
A few months ago I wrote a note to myself:
"Try to create a mask that that doesn't have anything to do with anything."
I kept wondering what that could mean until I started to imagine Mask/Mirror.
Mask/Mirror is a sampler that processes recordings of spoken language in real time. It uses samples of my own voice creating the ambiguous situation of being interrupted by myself all the time and of having to resort to all possible resources to keep making sense. The sampler follows both sound and meaning criteria in sorting, organizing and processing samples and formulating utterances. It randomly manages sample banks of words making possible to determine the syntactic form of a phrase ( for example noun - verb - noun ) but not the actual words the phrase it's made of. Mask/Mirror is a software tool based on Max/Msp that interacts with my own voice during performances. It also explores the sounding character of the voice/speech material through sound processing and pitch tracking. M/M
SOUND TRAVELS INTENSIVE CONCERTS
August 4, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts, 601 Christie St #170
General $5, (FREE for ST Intensive Participants)
August 4, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts, 601 Christie St #170
General $5, (FREE for ST Intensive Participants)
Performances of work by emerging and mid-career composers attending the Sound Travels Intensive (a series of workshops over a 3-day period). Performances will feature classic analog and sensor-based digital spatialization techniques. Feedback and discussion from audience is encouraged.
TORONTO ELECTROACOUSTIC SYMPOSIUM (TES) OPENING NIGHT CONCERT
August 6, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10, (FREE for INTENSIVE and SYMPOSIUM participants)
August 6, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10, (FREE for INTENSIVE and SYMPOSIUM participants)
Celebrate the opening of the Toronto Electroacoustic Symposium by listening to a multichannel concert of works by international artists attending the symposium. Works featured were juried by an international panel of artists, researchers and teachers assembled by the Canadian Electroacoustic Community.
ECOLOGY: WATER, AIR SOUND CONCERT
world premiers by Nicolas Bernier and Marilyn Lerner
August 7, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10
world premiers by Nicolas Bernier and Marilyn Lerner
August 7, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10
A chance to hear the latest emerging voices in sound art with acousmatic and mixed electroacoustic works performed using the NAISA spatialization system. Featured are world premieres by Nicolas Bernier (commissioned through the Canada Council for the Arts) and Marilyn Lerner. Also included is Les Arbres by Bernier along with works by Emilie LeBel, Hervé Birolini, Martin Bedard, and Adam Basanta. Performers include Nicolas Bernier and Scott Trottier.
Full program notes for the August 7 Concert
Écologie Matérielle by Adam Basanta
World Premiere by Emilie LeBel
Ozone by Hervé Birolini
BACKTACK (World Premiere) by Marilyn Lerner
Champs de fouilles (Excavations) by Martin Bedard
World Premiere by Nicolas Bernier
Les Arbres by Nicolas Bernier
Full program notes for the August 7 Concert
Écologie Matérielle by Adam Basanta
World Premiere by Emilie LeBel
Ozone by Hervé Birolini
BACKTACK (World Premiere) by Marilyn Lerner
Champs de fouilles (Excavations) by Martin Bedard
World Premiere by Nicolas Bernier
Les Arbres by Nicolas Bernier
Program:
I. Écologie Matérielle by Adam Basanta
Between the natural enviroment and the consumer product derived from it (paper/plastic/wrappers/foil) lies a sonic and metaphoric continuum. Within this scope, I expore variations on the themes of extraction and re-depostion between opposing sound-images, investigating an evolving musical interplay between the ecological organiation of characteristics of each sound world.
Between the natural enviroment and the consumer product derived from it (paper/plastic/wrappers/foil) lies a sonic and metaphoric continuum. Within this scope, I expore variations on the themes of extraction and re-depostion between opposing sound-images, investigating an evolving musical interplay between the ecological organiation of characteristics of each sound world.
II. She Dreams in a Transient Place (2009) by Emilie LeBel
She Dreams in a Transient Place was written during a residency at The Banff Centre in fall 2008. In this piece, I explore thematically the transient nature of settlements in Alberta's Bow Valley where Banff is located. The piece incorporates recordings taken from the natural environment of the local area, and samples from cellist Rachel Desoer.
She Dreams in a Transient Place was written during a residency at The Banff Centre in fall 2008. In this piece, I explore thematically the transient nature of settlements in Alberta's Bow Valley where Banff is located. The piece incorporates recordings taken from the natural environment of the local area, and samples from cellist Rachel Desoer.
III. Ozone by Hervé Birolini
Ozone has little to do with the musical clichés often associated with the saxophone. Instead it creates a space where elemental sounds, such as the sine waves used by the earliest synthesizers, or the iterative sequences of digital processing, are able to intersect with the raw breath and other saxophonic artifacts produced by Bertrand Gauguet's instruments.
Ozone has little to do with the musical clichés often associated with the saxophone. Instead it creates a space where elemental sounds, such as the sine waves used by the earliest synthesizers, or the iterative sequences of digital processing, are able to intersect with the raw breath and other saxophonic artifacts produced by Bertrand Gauguet's instruments.
IV. BACKTACK (2009 - World Premiere) by Marilyn Lerner
My mother's side of the family were tailors from Ozarow, Poland. In a book of childhood memories of the town written by Hillel Adler, he writes of each tailor having his or her own song as they worked in their shops. That sonic image has always haunted me. This piece was been made by "weaving together" sounds of sewing machines, scissors, steam irons, with immigrant accents, turns of phrase, textures of voices.
My mother's side of the family were tailors from Ozarow, Poland. In a book of childhood memories of the town written by Hillel Adler, he writes of each tailor having his or her own song as they worked in their shops. That sonic image has always haunted me. This piece was been made by "weaving together" sounds of sewing machines, scissors, steam irons, with immigrant accents, turns of phrase, textures of voices.
V. Champs de fouilles (Excavations) by Martin Bedard
Commissioned by the ensemble Erreur de type 27 for the Québec City 400th anniversary (1608-2008) celebrations. Excavations is a homage to the history and unique character of Québec City (Canada). In the piece, I explore the cohabitation of electroacoustic media and sound culture, which I identify as being the unique sound heritage of a community or area.
Commissioned by the ensemble Erreur de type 27 for the Québec City 400th anniversary (1608-2008) celebrations. Excavations is a homage to the history and unique character of Québec City (Canada). In the piece, I explore the cohabitation of electroacoustic media and sound culture, which I identify as being the unique sound heritage of a community or area.
VI. COURANT.AIR (2009) by Nicolas Bernier
World Premiere of NAISA Commission (2009) for acoustic guitar, 4-track tape and live electronics Acoustic Guitar : Simon Trottier Ecology. Air. Water. Sounds. These words, like the theme for the current edition of Sound Travels, ineluctably lead me to the banks of the St. Lawrence river, with its landscapes created by erosion caused by wind and water. I thus look towards my roots by imagining the junction between a music derived from folk music and noisy sounds and wind, pushing the guitar to a digital abyss. Thanks to NAISA and to Simon Trottier. Commissioned by New Adventures in Sound Art with financial support from the Canada Council for the Arts Music Section.
World Premiere of NAISA Commission (2009) for acoustic guitar, 4-track tape and live electronics Acoustic Guitar : Simon Trottier Ecology. Air. Water. Sounds. These words, like the theme for the current edition of Sound Travels, ineluctably lead me to the banks of the St. Lawrence river, with its landscapes created by erosion caused by wind and water. I thus look towards my roots by imagining the junction between a music derived from folk music and noisy sounds and wind, pushing the guitar to a digital abyss. Thanks to NAISA and to Simon Trottier. Commissioned by New Adventures in Sound Art with financial support from the Canada Council for the Arts Music Section.
VII. COURANT.AIR(2009) 10' by NICOLAS BERNIER
Pour guitare acoustique, bande 4 pistes et électronique en direct Une commande de NAISA Ecology. Air. Water. Sounds. Ces mots donnés comme thème de la présente édition Sound Travels me mènent inéluctablement aux rives du fleuve St-Laurent, à ces paysages façonnés par l'érosion causée par le vent et l'eau. Je cherche donc vers mes racines en imaginant la jonction entre une musique dérivant du folk et des matières bruiteuses et venteuses qui poussent la guitare aux abîmes du numérique. Merci à Naisa et à Simon Trottier. Guitare acoustique : Simon Trottier
Pour guitare acoustique, bande 4 pistes et électronique en direct Une commande de NAISA Ecology. Air. Water. Sounds. Ces mots donnés comme thème de la présente édition Sound Travels me mènent inéluctablement aux rives du fleuve St-Laurent, à ces paysages façonnés par l'érosion causée par le vent et l'eau. Je cherche donc vers mes racines en imaginant la jonction entre une musique dérivant du folk et des matières bruiteuses et venteuses qui poussent la guitare aux abîmes du numérique. Merci à Naisa et à Simon Trottier. Guitare acoustique : Simon Trottier
VIII. LES ARBRES (2004-09) by Nicolas Bernier
For electric guitar, 4-track tape, live electronics and video Electric guitar : Simon Trottier Video : urban9 After a moment spent at the water's edge, I enter into the middle of the grounds where these forgotten trees of my childhood are. My moto there will be found: to abolish the borders between complexity and naivety, between popular and serious music, electronic music and acoustics, noise and melody. This quadraphonic version with electric guitar was created especially for Sound Travels.
For electric guitar, 4-track tape, live electronics and video Electric guitar : Simon Trottier Video : urban9 After a moment spent at the water's edge, I enter into the middle of the grounds where these forgotten trees of my childhood are. My moto there will be found: to abolish the borders between complexity and naivety, between popular and serious music, electronic music and acoustics, noise and melody. This quadraphonic version with electric guitar was created especially for Sound Travels.
IX. LES ARBRES (2004-2009) by NICOLAS BERNIER
Pour guitare électrique, bande 4 pistes, électronique en direct et vidéo Après un instant passé au bord de l'eau, j'entre au coeur des terres où se trouvent ces arbres oubliés de mon enfance. On y trouvera mon credo : abolir les frontières entre complexité et naïveté, entre musique populaire et sérieuse, entre musique électronique et acoustique, entre bruit et mélodie. Cette version quadriphonique avec guitare électrique a été créée spécialement pour Sound Travels. Guitare électrique : Simon Trottier Vidéo : urban9
Pour guitare électrique, bande 4 pistes, électronique en direct et vidéo Après un instant passé au bord de l'eau, j'entre au coeur des terres où se trouvent ces arbres oubliés de mon enfance. On y trouvera mon credo : abolir les frontières entre complexité et naïveté, entre musique populaire et sérieuse, entre musique électronique et acoustique, entre bruit et mélodie. Cette version quadriphonique avec guitare électrique a été créée spécialement pour Sound Travels. Guitare électrique : Simon Trottier Vidéo : urban9
TWO PORTRAITS CONCERT
Retrospectives of work by Benjain Thigpen and Annette Vande Gorne
August 8, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10
Retrospectives of work by Benjain Thigpen and Annette Vande Gorne
August 8, 2009, 8:00 pm
Loop Centre for Lively Arts and Learning, 601 Christie St #176
General $15, Students $10
Retrospectives of work by Benjamin Thigpen and Annette Vande Gorne - two sound artists that are little known in Toronto but who have contributed greatly to the development of sound art in Europe in recent years. Thigpen's side of this duo portrait includes Balagan, Incandescence and Malfunction3093 while Vande Gorne's side features Ce qu'a vu le vent d'Est, Exil, Chant II and Figures d'espace from a her latest release on the famed empreintes DIGITALes label. Both artists work feature a wide range of energy, intensity and colour. The artists will both be on hand to perform their work and provide some insight to the processes behind their works.
Ben Thigpen - Balagan
Ben Thigpen - Incandescence
Ben Thigpen - Malfunction3093
Annette Vande Gorne - Ce qu'a vu le vent d'Est
Annette Vande Gorne - Exil
Annette Vande Gorne - Chant II
Annette Vande Gorne - Figures d'espace
Ben Thigpen - Balagan
Ben Thigpen - Incandescence
Ben Thigpen - Malfunction3093
Annette Vande Gorne - Ce qu'a vu le vent d'Est
Annette Vande Gorne - Exil
Annette Vande Gorne - Chant II
Annette Vande Gorne - Figures d'espace
Program:
I. balagan (2001) by Ben Thigpen
"... but I let you fall back into chaos, like diving bells." - Lautréamont balagan is a study in disintegration. In Hebrew, the title means "mess." As I composed the piece, the principle problematics for me revolved around the issues raised by this title: disintegration, chaos, disorder. But disorder is not just the absence of order; nor is order the simple exclusion of disorder. The two opposites do not exclude each other; they are folded into and founded on each other. The question (or one of them) is how things fall apart, and how in falling apart they take on orderly, coherent shapes. I like to think that the form of balagan resembles that of the "constructures" my daughter used to make when she was 2 or 3 years old. There are many small objects arranged on the floor. Seen from a distance - as you enter the room, say - they give you the impression of a big mess; but if you look more closely, you become aware of a strong coherence in the juxtapositions and successions of objects.
"... but I let you fall back into chaos, like diving bells." - Lautréamont balagan is a study in disintegration. In Hebrew, the title means "mess." As I composed the piece, the principle problematics for me revolved around the issues raised by this title: disintegration, chaos, disorder. But disorder is not just the absence of order; nor is order the simple exclusion of disorder. The two opposites do not exclude each other; they are folded into and founded on each other. The question (or one of them) is how things fall apart, and how in falling apart they take on orderly, coherent shapes. I like to think that the form of balagan resembles that of the "constructures" my daughter used to make when she was 2 or 3 years old. There are many small objects arranged on the floor. Seen from a distance - as you enter the room, say - they give you the impression of a big mess; but if you look more closely, you become aware of a strong coherence in the juxtapositions and successions of objects.
II. Incandescence (2003) by Ben Thigpen
for Iannis Xenakis "This world, which is the same for all, no one of gods or men has made; but it was ever, is now, and ever shall be: everliving fire, with measures of it kindling, and measures going out." - Heraclitus Nearly all the original sound material for incandescence was extracted from Iannis Xenakis' Persepolis. This material was transformed by such processes as fragmentation, scrambling, distortion, comb filtering and reverberation, using programs I wrote in Max/MSP. Composed during a Djerassi Artists Residency in May 2003. Many thanks to Naut Humon of Asphodel Records for his generous and energetic support, and to all the people of the Djerassi Resident Artists Program, without whose "gift of time" this piece would never have been written. incandescence was a finalist in the competition Musica Nova 2006 and in the VI International Contemporary Music Contest Città di Udine 2006.
for Iannis Xenakis "This world, which is the same for all, no one of gods or men has made; but it was ever, is now, and ever shall be: everliving fire, with measures of it kindling, and measures going out." - Heraclitus Nearly all the original sound material for incandescence was extracted from Iannis Xenakis' Persepolis. This material was transformed by such processes as fragmentation, scrambling, distortion, comb filtering and reverberation, using programs I wrote in Max/MSP. Composed during a Djerassi Artists Residency in May 2003. Many thanks to Naut Humon of Asphodel Records for his generous and energetic support, and to all the people of the Djerassi Resident Artists Program, without whose "gift of time" this piece would never have been written. incandescence was a finalist in the competition Musica Nova 2006 and in the VI International Contemporary Music Contest Città di Udine 2006.
III. Malfunction3093 (2007) by Ben Thigpen
for K A malfunction is not only a problem: the obsticle that stands in the way of our intentions, thwarting our immediate expectations, holds the potential for unforseeable illuminations and for the release of tremendous energy. malfunction30931 is based on a computer malfunction, which I recorded in Ircam's Salle Varèse on 8 May 2004. The piece was composed nearly three years later at the Visby International Centre for Composers [Visby, Sweden].
for K A malfunction is not only a problem: the obsticle that stands in the way of our intentions, thwarting our immediate expectations, holds the potential for unforseeable illuminations and for the release of tremendous energy. malfunction30931 is based on a computer malfunction, which I recorded in Ircam's Salle Varèse on 8 May 2004. The piece was composed nearly three years later at the Visby International Centre for Composers [Visby, Sweden].
IV. Ce qu'a vu le vent d'Est (2003) by Annette Vande Gorne
To Hans Tutschku Ce qu'a vu le vent d'Est is a threnody for the civil victims of ideological-economic wars. Claude Debussy's highly varied writing and composition techniques find a strong echo in electroacoustic writing techniques and sound processing. For example, in his music we can hear 'looped' repetitions of short cycles often transposed, with or without speed variation (fast high notes, slow low notes) or coloured differently each time they occur, dynamic contrasts, sudden changes in tempo through transition-less sections (abrupt editing), overlaying of figures in a continuous weft, oppositions of masses, of movements (mobile/tension, still/release)... His 3rd movement of La mer - Dialogue du vent et de la mer -, the 7th Prelude from the First Book for Piano - Ce qu'a vu le vent d'Ouest -, and his orchestral work Jeux are all fine lessons. There is also the special relationship with nature as a model. Here, nature is perceived in a diversity of energetic movements and spectral
To Hans Tutschku Ce qu'a vu le vent d'Est is a threnody for the civil victims of ideological-economic wars. Claude Debussy's highly varied writing and composition techniques find a strong echo in electroacoustic writing techniques and sound processing. For example, in his music we can hear 'looped' repetitions of short cycles often transposed, with or without speed variation (fast high notes, slow low notes) or coloured differently each time they occur, dynamic contrasts, sudden changes in tempo through transition-less sections (abrupt editing), overlaying of figures in a continuous weft, oppositions of masses, of movements (mobile/tension, still/release)... His 3rd movement of La mer - Dialogue du vent et de la mer -, the 7th Prelude from the First Book for Piano - Ce qu'a vu le vent d'Ouest -, and his orchestral work Jeux are all fine lessons. There is also the special relationship with nature as a model. Here, nature is perceived in a diversity of energetic movements and spectral
V. Exil, chant II (1983, 2006) by Annette Vande Gorne, Composer & Saint-John Perse, Writer
This admirable poem by Saint-John Perse has everything: rhythm, speed, movement, space, matter, numbers and form. The music provides the text with natural images/movements, their synthetic imitation and transformation being chosen for their expressiveness. The mix is symphony-like in its great variety of sound sources and creates standardised energetic textures, which either blend into each other vertically, or on the contrary, form contrapuntal chains. Premiere: July 30, 1983, Stalker (Brussels, Belgium). The text is excerpted from the poem Exil (1942) by Saint-John Perse (© Éditions Gallimard, 1945).
This admirable poem by Saint-John Perse has everything: rhythm, speed, movement, space, matter, numbers and form. The music provides the text with natural images/movements, their synthetic imitation and transformation being chosen for their expressiveness. The mix is symphony-like in its great variety of sound sources and creates standardised energetic textures, which either blend into each other vertically, or on the contrary, form contrapuntal chains. Premiere: July 30, 1983, Stalker (Brussels, Belgium). The text is excerpted from the poem Exil (1942) by Saint-John Perse (© Éditions Gallimard, 1945).
VI. Figures d'espace (2004) by Annette Vande Gorne
* Vide et Plein [Emptiness and Full] * Texture * Ritournelle 1 [Ritornello 1] * Vagues [Waves] * Ritournelle 2 [Ritornello 2] * Contrastes [Contrasts] * Ritournelle 3 [Ritornello 3] Commission: Noise Watchers Unlimited Premiere: November 19, 2004, Rainy Days, Villa Louvigny (Luxembourg, Luxembourg) To Claude Lenners Aerial or blocked space, in movement or static, in contrasting colours, materials and movements... but what does 'space' mean? Here, each part requests a 'complimentary soul' from the performer at the mixing board, a certain virtuosity. In the tradition of the classical study or prelude, the piece has been designed as an instrumental gesture, as space figures conditioning the gestural answer of the performer.
* Vide et Plein [Emptiness and Full] * Texture * Ritournelle 1 [Ritornello 1] * Vagues [Waves] * Ritournelle 2 [Ritornello 2] * Contrastes [Contrasts] * Ritournelle 3 [Ritornello 3] Commission: Noise Watchers Unlimited Premiere: November 19, 2004, Rainy Days, Villa Louvigny (Luxembourg, Luxembourg) To Claude Lenners Aerial or blocked space, in movement or static, in contrasting colours, materials and movements... but what does 'space' mean? Here, each part requests a 'complimentary soul' from the performer at the mixing board, a certain virtuosity. In the tradition of the classical study or prelude, the piece has been designed as an instrumental gesture, as space figures conditioning the gestural answer of the performer.
AGAINST THE WINDE OUTDOOR CONCERT WITH KITES
August 9, 2009, 2:00 pm
601 Christie Street #252 - near Christie and St Claire West at the Artscape Wychwood Barns 2nd floor
Admission by donation
August 9, 2009, 2:00 pm
601 Christie Street #252 - near Christie and St Claire West at the Artscape Wychwood Barns 2nd floor
Admission by donation
Due to the fact that this performance relies heavily on the right wind and weather conditions, we will meet at the NAISA space at 2pm (601 Christie Street #252 - near Christie and St Claire West at the Artscape Wychwood Barns 2nd floor) on August 9th and Ken will decide at that point which park we will go to for the performance. If for some reason the wind is not in our favour, Ken will instead show and play the various devices he has created during his residency here (he creates small electronic instruments using very old technology).
What would happen if you connected a kite to a guitar resonator and pickups? Join us for this not to be missed outdoor performance by Winnipeg media artist Ken Gregory in which he will coax music out of kites with his site-specific performance work Against the Wind.
What would happen if you connected a kite to a guitar resonator and pickups? Join us for this not to be missed outdoor performance by Winnipeg media artist Ken Gregory in which he will coax music out of kites with his site-specific performance work Against the Wind.
Sound(e)scape
presented as part of Scotiabank Nuit Blanche
By various artists
October 3, 2009, 7:00 pm to 7:00 am
The NAISA Space (#252), Artscape Wychwood Barns, 601 Christie St.
FREE
presented as part of Scotiabank Nuit Blanche
By various artists
October 3, 2009, 7:00 pm to 7:00 am
The NAISA Space (#252), Artscape Wychwood Barns, 601 Christie St.
FREE
Sound(e)scape is an immersive experience that surrounds the participant with the sounds of water, air, and natural soundscapes from around the world curated by NAISA's Artistic Director Darren Copeland. The works will be spatialized live with NAISA's unique realtime spatialization controller and software by Andrew Stewart, Hector Centeno and Darren Copeland and will include performances of works by the angelusnovus.net collective who will use this occasion to launch a six month residency at the NAISA Space.
Jean Piché Retrospective (1999-2009) Videomusic Presentation
October 8, 2009, 8:00 pm
+ October 9, 2009 (7-10 PM) FREE during the James Street North Art Crawl @ The Factory, Hamilton Media Arts Centre, 126 James Street North, Hamilton, 905-577-9191 / www.hamiltonmediaarts.org
Loop Studio Centre for Lively Arts, Artscape Wychwood Barns, 601 Christie #170, Toronto
General $15, Students $10
October 8, 2009, 8:00 pm
+ October 9, 2009 (7-10 PM) FREE during the James Street North Art Crawl @ The Factory, Hamilton Media Arts Centre, 126 James Street North, Hamilton, 905-577-9191 / www.hamiltonmediaarts.org
Loop Studio Centre for Lively Arts, Artscape Wychwood Barns, 601 Christie #170, Toronto
General $15, Students $10
NAISA artistic director Darren Copeland has curated a program of videomusic works by Jean PichŽ that have been inspirational to the investigation of the videomusic genre by NAISA in its SOUNDplay programming since 2003. The works will be presented in Triple Screen HD in a concert format at the Loop Studio in Toronto and in an installation format with an artist Q&A at The Factory Media Arts Centre during the James Street North Art Crawl in Hamilton. The performance in Toronto will be preceded by Freida Abtan's new large scale videomusic work The Hands of the Dancer.
Program:
I. The Hands of the Dancer (2008) by Freida Abtan
"The hands of the dancer" is a 21 minute HD videomusic piece that focuses on imagery related to the mythology of temple dancers and to dreaming. A man sleeps and dreams of a dancing girl who multiplies and shimmers like the desert. Her image is continuously mutating and becomes the landscape of the dream. She looks into a mirror and appears next counting peacock feathers while another prescence takes her place as the dancer, making contact with the dreamer. This video explores the multiple ways that movement and form can be abstracted through surface and temporal manipulation. The narrative evokes a dreamscape in which characters exchange identity and develop through physical transformation. The sounds and images depicted are inspired by traditional Baladi form and are meant to evoke a state in which these bodily gestures convey secret meanings that need not resort to language. "The hands of the dancer" was created with footage of Andrea Fryett, Olivia Li, and David Drury. Compositio
"The hands of the dancer" is a 21 minute HD videomusic piece that focuses on imagery related to the mythology of temple dancers and to dreaming. A man sleeps and dreams of a dancing girl who multiplies and shimmers like the desert. Her image is continuously mutating and becomes the landscape of the dream. She looks into a mirror and appears next counting peacock feathers while another prescence takes her place as the dancer, making contact with the dreamer. This video explores the multiple ways that movement and form can be abstracted through surface and temporal manipulation. The narrative evokes a dreamscape in which characters exchange identity and develop through physical transformation. The sounds and images depicted are inspired by traditional Baladi form and are meant to evoke a state in which these bodily gestures convey secret meanings that need not resort to language. "The hands of the dancer" was created with footage of Andrea Fryett, Olivia Li, and David Drury. Compositio
II. Spin (1999-2001) by Jean Piché
for three channel video and stereo sound Spin is a metaphorical representation of musical time, color and form. Synchronicity (or "synchrèse") is not a primary concern. Formally, Spin is presented in three segments each dealing with its own level of abstraction. All images are obtained by "spinning" camera techniques and severe processing, the goal being of severely altering iconicity. There are no synthetic images. Musical ideas were the determining guide for the elaboration of visual sequences, but the music was composed after the visuals. The music is made with the composer's own music and audio software. Spin was commissioned by ACREQ and was premiered in september 2000 in Montréal, Canada.
for three channel video and stereo sound Spin is a metaphorical representation of musical time, color and form. Synchronicity (or "synchrèse") is not a primary concern. Formally, Spin is presented in three segments each dealing with its own level of abstraction. All images are obtained by "spinning" camera techniques and severe processing, the goal being of severely altering iconicity. There are no synthetic images. Musical ideas were the determining guide for the elaboration of visual sequences, but the music was composed after the visuals. The music is made with the composer's own music and audio software. Spin was commissioned by ACREQ and was premiered in september 2000 in Montréal, Canada.
III. Bharat by Music and images: Jean Piché Violin: Ivan Zawada Voice: Mohandas K. Gandhi Rights: The GandhiServe Foundation, Berlin for three channel video and
Bharat was shot in Northern India in early spring 2002 and premiered in November of the same year. This is the first time I shot with the aim of assembling in panoramic triple screen mode. Scanned panning scenes were reconstructed from multiple exposures. The text is extracted from the last known recording of Mohandas K Gandhi a few days before his assassination in 1947. The text is reproduced below.
Bharat was shot in Northern India in early spring 2002 and premiered in November of the same year. This is the first time I shot with the aim of assembling in panoramic triple screen mode. Scanned panning scenes were reconstructed from multiple exposures. The text is extracted from the last known recording of Mohandas K Gandhi a few days before his assassination in 1947. The text is reproduced below.
IV. eXpress (2001) by Jean Piché
for three channel video and stereo sound eXpress is a commission from the Institut International de Musique Electroacoustique de Bourges. It was premiered in France in June 2002. The footage was shot on the Bourges-Paris S.N.C.F. train. The highly kinetic allure of eXpress is obtained by forcing a very fast camera shutter speed with a large aperture. Trajectories and velocities ... kinetic outrage... fields, village, city.
for three channel video and stereo sound eXpress is a commission from the Institut International de Musique Electroacoustique de Bourges. It was premiered in France in June 2002. The footage was shot on the Bourges-Paris S.N.C.F. train. The highly kinetic allure of eXpress is obtained by forcing a very fast camera shutter speed with a large aperture. Trajectories and velocities ... kinetic outrage... fields, village, city.
V. Boreales (2008) by Jean Piché
for three channel HD video and stereo sound A new Triple HD work premiered this past May at the Elektra Festival in Montreal: elektramontreal.ca/2009/
for three channel HD video and stereo sound A new Triple HD work premiered this past May at the Elektra Festival in Montreal: elektramontreal.ca/2009/
Sound-Image-Sound co-presented with Contact Contemporary Music
By Nancy Tobin, Christopher Fox and Brent Lee
October 16, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts (#170) Artscape Wychwood Barns, 601 Christie St.
General $15, Students $10
By Nancy Tobin, Christopher Fox and Brent Lee
October 16, 2009, 8:00 pm
The Loop Studio Centre for Lively Arts (#170) Artscape Wychwood Barns, 601 Christie St.
General $15, Students $10
The nature of listening, of performance, and of the integration of the visual with the auditory will be the focus of the performances on October 16 and 17 with a Toronto premiere of SUGARscape by Montréal's Nancy Tobin and performances by Contact Contemporary Music Ensemble of works by Christopher Fox and Brent Lee.
Program:
I. I hear your voice in the circling night (2008) by Music: Brent Lee Images: Sigi Torinus
The original bass clarinet part for this piece was composed en route from Vancouver to Beijing in 2001. The entire 13-hour flight took place at night as the plane traveled westward more or less at same speed as the earth's rotation. This sense of very slowly evolving darkness is reflected in the character of the clarinet line. Years later, ______ and I recorded the bass clarinet sketch and some further source material; I then used CSound and Ableton Live software to design timbres and assemble cues and audio processes to accompany the live performance of the work. Shortly after, we started performing the work with video artist Sigi Torinus; she created two video versions of the piece: the first is a palette of still and moving images and processes that, like the audio, can be mixed in real time; the second is a fixed video that stands on its own.
The original bass clarinet part for this piece was composed en route from Vancouver to Beijing in 2001. The entire 13-hour flight took place at night as the plane traveled westward more or less at same speed as the earth's rotation. This sense of very slowly evolving darkness is reflected in the character of the clarinet line. Years later, ______ and I recorded the bass clarinet sketch and some further source material; I then used CSound and Ableton Live software to design timbres and assemble cues and audio processes to accompany the live performance of the work. Shortly after, we started performing the work with video artist Sigi Torinus; she created two video versions of the piece: the first is a palette of still and moving images and processes that, like the audio, can be mixed in real time; the second is a fixed video that stands on its own.
II. SUGARscape (2009) by Nancy Tobin
Sugarscape is an immersive and meditative work based on recordings of sugar cane fields in Martinique, Caribbean islands.
Sugarscape is an immersive and meditative work based on recordings of sugar cane fields in Martinique, Caribbean islands.
III. Discreet Music (2009) by Music: Brent Lee Image: Sigi Torinus
Featuring the Contact Contemporary Music Ensemble
Featuring the Contact Contemporary Music Ensemble
IV. Strangers in our Midst by Music: Christopher Fox Image: Contact Contemporary Music
Featuring the Contact Contemporary Music Ensemble with tenor saxophone, euphonium, accordion, banjo, cello + video cameras and playback 45:00 (1999-2001) Strangers in our midst was premiered by the VENI Ensemble in dieTheater/KonzertHaus, Vienna on 19th October 2001. It is dedicated to Richard Ayres. The cello part may be performed as a solo work, inner.
Featuring the Contact Contemporary Music Ensemble with tenor saxophone, euphonium, accordion, banjo, cello + video cameras and playback 45:00 (1999-2001) Strangers in our midst was premiered by the VENI Ensemble in dieTheater/KonzertHaus, Vienna on 19th October 2001. It is dedicated to Richard Ayres. The cello part may be performed as a solo work, inner.
Nancy Tobin Nancy Tobin is a sound artist and designer for stage productions. Over the past twenty years, she has developed an approach using unusual audio speakers to transform the sound qualities of her compositions. Nancy Tobin is currently finishing a work for CD called D e l a y T o y s a thematic composition based on memory, playfulness,silence and contemplation.
Christopher Fox Christopher Fox's work has been performed and broadcast world-wide and has featured in many of the leading new music festivals, from the Amsterdam PROMS to the BBC Promenade Concerts and from St Petersburg to Sidney. In recent years he has established particularly close relationships with the Ives Ensemble in the Netherlands, for whom he wrote the evening-long ensemble installation, Everything You Need To Know (2000-1) and with Apartment House in the UK. Fox's music is widely available on CD, with a portrait CD on NMC, four portrait CDs on Metier and other recordings on Artifact, BVHaast and FMR. Fox has been hailed by Andy Hamilton in The Wire as "a tantalising figure in British Music"; Paul Driver in the Sunday Times has described his music as "impressive, thoughtful, entertaining and extremely varied". Fox's work regularly extends beyond the conventional boundaries of the concert hall and includes the radio piece Three Constructions after Kurt Schwitters, commissioned by the BBC in 1993 and nominated for the Prix Italia, gallery works in collaboration with video artists and printmakers, and a number of extended ensemble works which defy categorisation. Paul Griffiths, writing in the Times, has said of Fox's work that "he takes simple ideas but he makes them sound quite wonderful".
Brent Lee Brent Lee's compositions range from orchestral music to electroacoustic pieces, and include jazz and incidental music. He has received numerous commissions, largely through the Canada Council and the Alberta Foundation for the Arts. In addition to performances and broadcasts in many countries, several of his works have been commercially recorded. His compositions and improvisations often juxtapose acoustic instruments and electroacoustic sound, and reflect his interest in the exploration of musical colours and textures.
Pierre Hébert and Stefan Smulovitz perform + screenings of Toronto animation artists Co-Presented with Pleasure Dome
October 23, 2009, 8:00 pm
Loop Studio Centre for Lively Arts, Artscape Wychwood Barns, 601 Christie #170, Toronto
General $15, Students $10
October 23, 2009, 8:00 pm
Loop Studio Centre for Lively Arts, Artscape Wychwood Barns, 601 Christie #170, Toronto
General $15, Students $10
Québec pioneer animator Pierre Hébert returns to SOUNDplay after his appearance last year with Living Cinema. This time he is joined by BC electroacoustic musician Stefan Smulovitz for two performances of live digital animation and sound art for their new collaborative work "Robert's Creek". Also included is a program of animation works by Toronto artists curated by Nick Fox-Gieg for Pleasure Dome. Performance is preceded by the videomusic work "a sudden change in the consistency of snow" by Peter V. Swendson.
Program:
I. a sudden change in the consistency of snow (2008) by Peter V. Swendson
a sudden change in the consistency of snow is an interpretation of that kind of early-winter snow that is almost sleet or hail, changing all the time, sometimes softening enough to bestow the lovely winter quiet that exists when everything is covered and dampened with snow, but other times quite hard and sharp and percussive as it bounces on frozen surfaces.
a sudden change in the consistency of snow is an interpretation of that kind of early-winter snow that is almost sleet or hail, changing all the time, sometimes softening enough to bestow the lovely winter quiet that exists when everything is covered and dampened with snow, but other times quite hard and sharp and percussive as it bounces on frozen surfaces.
II. Locavore by curated by Nick Fox-Gieg Films by Lesley Loksi Chan, Jesse Ewles, Rachel Peters, Howie Shia, and Evan Tapper.
Each time there's a change in the technology used to make moving pictures, auteur animators take the lead in experimenting with the new tools on offer. Locavore, a survey of recent short animation work from Toronto, documents this evolutionary process at work. Locavore program: Lesley Loksi Chan - Curse Cures Jesse Ewles - An Eluardian Instance Rachel Peters - Nagasaki Circus Howie Shia - Flutter Evan Tapper - Tumor
Each time there's a change in the technology used to make moving pictures, auteur animators take the lead in experimenting with the new tools on offer. Locavore, a survey of recent short animation work from Toronto, documents this evolutionary process at work. Locavore program: Lesley Loksi Chan - Curse Cures Jesse Ewles - An Eluardian Instance Rachel Peters - Nagasaki Circus Howie Shia - Flutter Evan Tapper - Tumor
III. Robert's Creek (2009) by Music: Stefan Smulovitz Live Animation: Pierre Hébert
Robert's Creek is where Stefan Smulovitz lives, on the Sunshine Coast, north of Vancouver. When Pierre Hébert visited him last February, he shot some images of the very powerful nature of this area and it became the basis of an improvisational piece they presented in Montréal last May as a work in progress. It comes as a mixture of live improvised animation keyed over processed live action shots. Smulovitz will improvise with his viola over a ground of edited nature sounds It is a meditation on the creek that runs in the back of his house.
Robert's Creek is where Stefan Smulovitz lives, on the Sunshine Coast, north of Vancouver. When Pierre Hébert visited him last February, he shot some images of the very powerful nature of this area and it became the basis of an improvisational piece they presented in Montréal last May as a work in progress. It comes as a mixture of live improvised animation keyed over processed live action shots. Smulovitz will improvise with his viola over a ground of edited nature sounds It is a meditation on the creek that runs in the back of his house.
IV. Improvisation (2009) by Music: Stefan Smulovitz Live Animation: Pierre Hébert 30:00 (2009)
To conclude their performance, Hébert and Smulovitz will present an open improvisation.
To conclude their performance, Hébert and Smulovitz will present an open improvisation.
CONCRETE Toronto, a performance by Debashis Sinha & Yosuhiro Morinaga co-presented with CONCRETE
November 7, 2009, 8:00 pm
The NAISA Space (#252) Artscape Wychwood Barns, 601 Christie St.
General $15 , Students $10
November 7, 2009, 8:00 pm
The NAISA Space (#252) Artscape Wychwood Barns, 601 Christie St.
General $15 , Students $10
CONCRETE Toronto, presented by New Adventures in Sound Art, will be the first ever collaboration with Yasuhiro Morinaga (Tokyo) and Debashis Sinha (Toronto). Each artist has an extensive practice in sound/radiophonic art. Morinaga and Sinha will draw upon their large archives of field recordings to present a new auditory and visual actualization of musique concrte, filtered through a geographic and artistic experience that is informed by a new global reality of cultural and creative openness. Also included will be videomusic works \harmonium\ by Debashis Sinha and Liquid Amber by Maggie Payne.
Program:
I. Liquid Amber (2008) by Maggie Paune
Liquid Amber is about images that compel me to physically reach out and touch them in real life and on -screen, just as I am drawn to try to touch a star in the desert's black velvet night sky. Sounds are physical, tactile, visceral, primarily produced by my touching various objects.
Liquid Amber is about images that compel me to physically reach out and touch them in real life and on -screen, just as I am drawn to try to touch a star in the desert's black velvet night sky. Sounds are physical, tactile, visceral, primarily produced by my touching various objects.
II. \"harmonium\" (2008) by Debashis Sinha
\"harmonium\" is a 4 movement video/audio work exploring the nature of sound as vibration. Consisting of a wide range of video and audio material from the analog and digital realms, harmonium presents a cohesive language of sound and image derived deeply from the natural world. As with all Sinha's work, it is a meditation, demanding a calm and mindful focus to fully participate. \"harmonium\" was created under the auspices of the Banff New Media Institute/Quebecor Fund Fellowship Award at the Banff Centre, 2008.
\"harmonium\" is a 4 movement video/audio work exploring the nature of sound as vibration. Consisting of a wide range of video and audio material from the analog and digital realms, harmonium presents a cohesive language of sound and image derived deeply from the natural world. As with all Sinha's work, it is a meditation, demanding a calm and mindful focus to fully participate. \"harmonium\" was created under the auspices of the Banff New Media Institute/Quebecor Fund Fellowship Award at the Banff Centre, 2008.
III. CONCRETE Toronto (2009) by Yasuhiro Morinaga and Debashis Sinha
CONCRETE Toronto is the first ever collaboration with Yasuhiro Morinaga (Tokyo) and Debashis Sinha (Toronto). Each artist has an extensive practice in sound/radiophonic art, collecting field recordings all over the world for use in their compositions for CD, art galleries, cinema, radio and the internet. In Toronto, Morinaga and Sinha will draw upon their large archives of field recordings to present a new auditory and visual actualization of the Musique Concrete idea, one filtered through a geographic and artistic experience that is informed by a new global reality of cultural and creative openness.
CONCRETE Toronto is the first ever collaboration with Yasuhiro Morinaga (Tokyo) and Debashis Sinha (Toronto). Each artist has an extensive practice in sound/radiophonic art, collecting field recordings all over the world for use in their compositions for CD, art galleries, cinema, radio and the internet. In Toronto, Morinaga and Sinha will draw upon their large archives of field recordings to present a new auditory and visual actualization of the Musique Concrete idea, one filtered through a geographic and artistic experience that is informed by a new global reality of cultural and creative openness.